introduzione di Gianluigi D´Autilia , intervista di Tess Taylor
Ultime news dal mondo di NARIP e dalle music supervisor sessions. Torniamo questa volta a Londra per una nuova serie di meeting e di opportunitá per music licensing. Le sessions sono una tavola rotonda tra noti supervisors di film per cinema, TV, commercials e producers, compositori e labels. Si cerca di stabilire in questo modo un contatto diretto e personale che dia la possibilitá di sviluppare opportunitá collaborative tra due settori cosí collegati ma anche complessi: ovvero l´industria del film e quella dell´audio/ musica in senso lato. Tess Taylor, la presidentessa di NARIP organizza e gestisce da qualche anno gli eventi a livello internazionale. Ogni producer ha un preciso lasso di tempo per far ascoltare e analizzare il proprio materiale, in un ascolto privato alla presenza di rappresentanti di Studios noti in cerca di specifiche sonoritá. Si scambiano contatti, pareri tecnici, punti di vista e soprattutto al termine della sessione esiste la possibilitá concreta che le tue tracks vengano acquistate per produzioni di grande livello.
Ho avuto la possibilitá di parlare con Tess recentemente dopo un incontro con Bobby Gumm, Music Director di Trailer Park che sará presente alle prossime sessioni del 14 Febbraio a Londra. Trailer Park si occupa di numerosi aspetti riguardanti la produzione musicale per media e film, ultimamente specializzati in trailers. Gumm ha iniziato la sua carriera con Intralink Film trascorrendo diversi anni nel settore dell´entertainment. Adesso con quasi dieci anni di esperienza Gumm ha supervisionato quasi un centinaio di trailers, potrei citare nomi come : Batman Begins, Up, Avatar, J Edgar e Batman: Arkham City. Ultimi crediti riguardano lavori come The Dark Knight Rises, Anchorman 2, The Great Gatsby, Brave, Horrible Bosses, Pacific Rim, Iron Man 3, the Incredible Burt Wonderstone, Texas Chainsaw Massacre 3D and Guilt Trip. Da segnalare: la prima sessione per la settimana prossima risulta essere giá sold out. Speriamo di poter assistere a sessioni del genere anche in Italia in un prossimo futuro. Per adesso potete provare ad iscrivervi alla seconda sessione delle 5:00 PM . Per tutti i dettagli direttamente sul sito di NARIP: http://bit.ly/NARIP-London-Gumm-2
Per iscriversi all’ultimo momento: 0203-002-8247 effettuabile telefonicamente, via Email Mary Bee, firstname.lastname@example.org
Ecco la versione integrale, in inglese concessami direttamente da Tess Taylor:
Bobby Gumm, Music Director, Trailer Park
Bobby Gumm is a Music Director at Trailer Park, a large multi-faceted ad agency that specializes in movie trailers. Prior to Trailer Park he began his career at Intralink Film and then spent several years with Flyer Entertainment. With almost a decade of music supervision experience, Gumm has supervised well over one hundred trailers including Batman Begins, Up, Avatar, J Edgar and Batman: Arkham City. Some of his recent credits include trailers for The Dark Knight Rises, Anchorman 2, The Great Gatsby, Brave, Horrible Bosses, Pacific Rim, Iron Man 3, the Incredible Burt Wonderstone, Texas Chainsaw Massacre 3D and Guilt Trip.
Tell me about Trailer Park, how do they work and operate?
It’s a LARGE, multifaceted ad agency that specializes in film advertising.
What is the range of services Trailer Park offers?
We do trailers, tv/internet spots, posters, video game trailers, network TV promos, publishing, web design and much more.
Let’s talk about your latest projects – what are you working on now and in the coming months?
One of the big ones at the moment is Iron Man 3. Marvel movies are always a lot of fun to work on because there is so much great material and they never want to rest on their laurels, they’re always looking for a new and different approach. The Great Gatsby is another big one for us, I think it’s a great movie and it’s been an honor to get to work on it.
When you work on different types of projects what are the most noticeable differences between music supervision for trailers vs. television broadcast, commercials and feature films?
Supervising for trailers and features are very different. In a trailer you’re trying to tell a story in a very condensed period of time so the music has to get to the point and evolve very quickly. In a feature or TV show the pacing is slower and you have more time to tell the story so you’re not quite as limited. You deal with a lot more score and orchestral music doing trailers as well, whereas with features it’s primarily just songs.
Does Trailer Park have in-house music producers, composers, or do you start browsing and selecting music from scratch for every project?
We do have an in-house composer but his primary job is to help with sound design. For the most part, the music we use comes from outside sources. Where I look or what sources I turn to generally depends on the budget and direction we’ve been given for the project.
What chances do independent publishers, musicians and composers have to pitch their songs and secure licenses in modern media? What can they do to improve their chances?
There is TONS of opportunity. Technology is a double-edged sword because it’s easier than ever to make music but that has also led to massive over-saturation. As a music supervisor, it’s difficult for me to listen to everything you get in but I’ve learned you can’t discount anyone. I’ve heard amazing tracks that were recorded in someone’s bedroom so you have to give everything a chance if you’re really trying to find those hidden gems.
How challenging is it to deal with budgets and at the same time keep in mind the director´s view of the music needed to market and promote his movie?
With the big studio movies it’s a little easier because they’re generally pretty open in terms of budget. If you can find that perfect song to brand the campaign they will pay for it. The smaller budget movies are certainly tricky though. Sometimes we do a Version 1 with expensive music just to get the tone right and then if necessary go through and replace the tracks with more affordable cues. Other times you know your budget outright and have to stick to library cues from the beginning.
How have NARIP Music Supervisor Sessions helped you do your job?
I’ve made several great contacts and want to keep them coming. I’m pleasantly surprised by the turnout NARIP gets, I love meeting small / independent label contacts and new composers, and NARIP is great for that. I’m certain placements will come out of the contacts I’ve already made and look forward to meeting more!
How did you get into music supervision?
Initially I wanted to be an editor but a friend of mine worked at a small, boutique trailer house and turned me on to the position. This was 10 years ago so at the time I didn’t know such a job even existed. I had a reputation among my friends as the “music guy” so I interviewed for the job and luckily they wanted someone young and cheap! So, after a short trial period they gave me the gig. I’m lucky I started when the “music supervisor” position was still in its infancy in the industry, nowadays they probably wouldn’t hire someone as inexperienced as I was [then].
What does a trailer music supervisor bring to a film?
I think they can bring a great deal actually. The first impression the public gets of a movie is the teaser or trailer, which is an incredible responsibility. The vast majority of the time there has been no music composed for the film or chosen for the soundtrack when we get started on the trailer. Therefore, we’re basically starting from scratch and it’s up to us to set the tone and find the voice of the movie. The ultimate coup is getting a song you chose for the trailer to end up on the soundtrack of the film, which happens occasionally.
What would you recommend to a young music supervisor to enhance his career and work opportunities in this field?
One of the biggest things that has helped me is having a grasp of editing. Knowing a lot about music is one thing but knowing why a song does or doesn’t work in a trailer is another thing entirely. So much goes into picking a song, so knowing what sort of bits and pieces editors are listening for is a huge advantage.
What’s the most lucrative area of sync?
I don’t know about the most lucrative but trailers certainly can be. It’s tough getting in but once you are there is definitely money to be made if you have a knack for it.
Does a film typically have more than one trailer?
The bigger studio movies generally do. With the internet, it’s also becoming more prevalent with smaller films too. Internet-only trailers have become a big thing in recent years and for the smaller films it’s a cheaper way to gain word of mouth and hit more specifically targeted audiences. “Red Band” trailers are also a newer thing, these trailers are R-rated and allow R-rated movies to show more edgy/risqué content to promote the movie. Often times these are only released on the Internet.
What kind of music is trending now?
They always want “modern/edgy” music and at the moment, “modern/edgy” means dub step and electronic. Those sounds are even creeping their way into the big orchestral music that I use. We call it “hybrid” music, it has the epic feel of a traditional score piece but also has modern elements that give it some edge. Mixing the contemporary and classic sounds is popular because it reaches across more demos. Clients also are always asking for unique covers of popular songs these days as well (i.e., we used Jack White’s cover of the U2 classic “Love Is Blindness” in our Great Gatsby trailer).
What are you looking for now?
EVERYTHING! Literally, I’m always working on over dozen campaigns/projects at a time so I’m constantly searching for different things. One minute it’s orchestral, the next could be comedic glockenspiel cues. The “hybrid” stuff I mentioned before is really the hot ticket at the moment though.
What’s your routine when searching for and placing music?
First and foremost I watch whatever footage we have. Many times it’s not the full feature but just seeing some visuals gets you in the right frame of mind. After that I’ll get some direction from the client, which includes budget, and then it’s off to the races. I don’t know if I have a specific process, I just go wherever the inspiration takes me.
What genres do you predict will be big in the next 12 months?
Hip hop and electronic music are gaining a bigger foothold in the market. Beats are getting bigger and better so their placement opportunities are becoming more diverse. Party music dominates advertising because it’s fun and up-tempo, and since most party music these days is hip hop or electronic, it’s only natural.
How has the sync world changed in the last few years?
I think opportunities have increased greatly and people are starting to realize the significant role music plays in advertising. On the other side of the coin though, I’ve also seen budgets get lower and lower. I think that’s more just a result of the economy in general though.
Bobby Gumm in London on February 19th receive a brief of his CURRENT music need, pitch music and get his feedback on the spot. Our first session is SOLD OUT, a second session at 5:00 p.m. has just been added. Get more details and costs, and register here NOW: http://bit.ly/NARIP-London-Gumm-2
Two ways to register:
Call 0203-002-8247 to pay by phone
Email Mary Bee at email@example.com
Tess Taylor, President, National Association of Record Industry Professionals (NARIP)
Tess Taylor is president of the National Association of Record Industry Professionals (NARIP) and creator of NARIP’s Music Supervisor Sessions, which feature music supervisors from the film, TV, ad agency and trailer sectors and have yielded multiple music placements. NARIP’s sessions have been a hit in London, Los Angeles, San Francisco, Berlin and New York, selling out in four cities. One of the U.S.’s leading authorities on careers in the music and record industries, Ms. Taylor has connected countless people to jobs and opportunities through her work in the US and abroad, cultivated collaborations for over two decades, helped launch hundreds of projects and several companies. Dubbed “International Music Ambassador” by music supervisor P.J. Bloom (Glee, Nip/Tuck, The Shield, CSI: Miami), Ms. Taylor works with groups such as the European Music Export Office, Danish Songwriters Guild, French Music Export Office, Boomtown (Sweden) and Berlin Music Commission to connect their members to opportunities in Los Angeles and throughout the U.S. She has consulted leading businesses such as InsideSessions (a joint venture between the Universal Music Group and Penguin Putnam, Inc.), The Walt Disney Company, BMG Entertainment (formerly Sony BMG), Concord Records and MySpace.com in its start-up phase. In the last year she has keynoted at Popkomm (Berlin), the Drucker Career Conference (Los Angeles), the Trigger Creative Conference (Sweden), the University of Vienna’s Institute für Popularmusik in Austria, and at NAMM 2011 (Los Angeles). Deeply annoyed by people who think music should be free, Ms. Taylor is a vigorous defender of intellectual property rights and debated Electronic Frontier Foundation co-founder John Perry Barlow on “free music” at the University of Massachusetts at Dartmouth (2006) and was invited for a rematch at Ohio University (2008). She won both times. From 1988 to 1993 Ms. Taylor was employed at MCA Records, Inc., last serving as Associate Director of Marketing. A classically trained pianist, she studied music at the University of Vienna, and is a Phi Beta Kappa, Magna Cum Laude graduate of the University of Redlands’ Johnston College where she received her BA degree in music, German and literature.
NARIP promotes education, career advancement and good will among record executives. Established in 1998 and based in Los Angeles, NARIP has chapters in London, New York, Atlanta, San Francisco, Phoenix, Houston, Las Vegas and Philadelphia, and reaches 100,000+ people in the music industries globally.
NARIP is committed to promoting the cultural and economic benefits of music and intellectual property, and to providing a platform to convey insights and perspectives to improve the music business around the world. NARIP upholds the contributions of music and related fields to the fiscal health of the U.S. and global economies, and is committed to fair compensation and protection for artists, and for those who invest in, own and market their works.
0203-002-8247 (UK) or 818-769-7007 (US)
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